Introduction:-

This assignment will present the language of the contemporary songs including
band, pop, modern classical, hip-hop and their popularity. The aim of this
assignment is to show how the language has been changed according to the needs of
the listeners. There was a time when just two social classes’ (Elite class & Middle
class) people use to listen songs and they mostly liked only three kinds of music
those are pure classical, modern and folksong. So, for a time there was no variation
in songs. Bangladeshi songs were thrown into monotony. Near 2004 Bangladesh
found some new talents who introduced some fusion songs which got a huge
popularity and the songs in our country got back the life. Among them Habib
Wahid, Balam, Stoic bliss, Fuad, Black, Shumon, are most renowned who still are
ruling the culture of song in our country by creating continuous variations in
language, tune and style. Now a days song has become a part of life. The mostly
viewed scene is people on their moves having worn headphones and their heads
moving in rhythm. Even the fossil radio culture got new dimension by playing the
songs whole day long. The variety of song, its intelligibility covers the
entertainment demand of each social class which was rare in past. Besides some
misuse of language and culture, the improvisation is on its way.

Methodology:-

A research named “Acts of Conflicting Identity: The Sociolinguistics of British

Pop-song Pronunciation” by Peter Trudgill (1983) “On Dialect: Social and
Geographical Perspective” (Oxford and New York: Basil Blackwell and New York
University Press) pp.141-160) shows that culture is something which is not bound
by society, class, country, and status. The study reveals that Sociolinguistics needs
to consider processes of conscious linguistic control and manipulation over and
above natural process of language maintenance and change. This is a theme is taken
up again in Part VI, where mutilingualism, including process of so-called ‘language
planning’ was considered. So the study of language attitudes and of subjective

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process generally, needs to be linked to the study of language variation.
Bangladeshi singers also depict this concept of language variety.

Bengali holds a variety of culture including social culture, political culture, festival
culture, religious culture etc. But Band culture has a special significance that is
always celebrated in Bangladesh. There are many kinds of songs in our country.
Among them classical song, Tagore song, Nazrul song, folk song, modern song,
rural song, and some band music songs were ruling the world of musician
Bangladesh till 2003. But in the midst of the year 2004 some changes in music
changed the whole variety of song in Bangladesh. It is said “the revolution began
with a name…Habib”. And band music/culture enjoyed the celebration with huge
popularity since then to till now. The contemporary band/modern song holds great
extents of variety within soft music, hard rock, folk and hip-hop.

Data Analysis:

Band Culture:

Band means a group of musicians who perform solely or in a group in the regional
language following the western principles of music. Bangladeshi bands also follow
the same. Bangladeshi people like this band music and accept it as a culture for
amusement. ‘Souls’, formed in1974, was the first band in Bangladesh.

Song:

A song is a metrical composition more generally a poetical strain, poem, or verse

which is sung with a modulation of voice by a solo singer or in duet or in a group.
But this definition does not match the contemporary one.

Contemporary song is a trifle composition uttered with modulation of voice. It can

be said as an object of derision, a laughing stock. But the modern classical (soft)
and folk songs still follow the past definition.

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Languages in Different Kinds of Music:

Before going to the classification of language in songs we should be introduced to

language.

Language:

It is an arbitrary signal made by voice sounds or gestures and written symbols with
communicative thoughts and feelings which can be manipulated.

Classical song:

The language of classical song achieves a significant level of mastery through

understanding of tonal and harmonic principles. The repertoire often exhibits
artistic complexity by using a grave theme, phrasing, texture, and aims at achieving
greater understanding of it leading to more meaningful hearing and a greater
appreciation of the composer’s style. Example: Rag, Baul, Lalon.

So the listener of past classical songs was the aristocrat and intellectual class. Not
even much intelligible to the young generation and middle class also. It was not
enjoyed by every class. Folk category was favorite to the villagers. But it was and
still is a prestigious variety of our culture.

Modern song:

Modern song used easy and different language from classical song both in words
and tune by avoiding monotonous language. There was a use of rural or urban
language, sometimes with patriotic note, with a rich theme. Example: Tagore song,
Nazrul’s song, Deshattobodhok songs, etc.

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Modern song was intelligible to all the social classes. But middle class people
enjoyed much. The popularity was achieved by using simple words and style of
singing.

Band music:

Band music is a variety which followed the western principles of music with
simple, easy, standard language.

Band music was always appreciated by the young generation.

Language of contemporary song:

Classical:

The new generation musicians like Habib, Tahsan recreated the classical songs
under the influence of Raglas, Tagore song, Nazrul’s song, and folk song following
some western principles like code switching, personalization style and tone. Some
most popular songs are: Krishno- Habib, Ek Mutho Roddur – Balam, Maya- Habib,
Parthonad- Black, etc.

These songs arising from their collaboration proved to be unexpected hits on the
underground scene, both in London and in Dhaka. ‘Krishno’, the first album
released by Habib was a success when it was eventually released in Bangladesh, its
unique blend of age-old folk and modern electronica introducing a radically new
sound to the Dhaka music scene. Till now the musicians are following these trends.
Mostly popular to the teenagers and young people who forgot their own culture.
Also the villagers, garments workers, rickshaw pullers appreciate this trend. Using
of dialect, code switching, colloquial language give these genre a new form.

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Modern:

New era modern songs are mostly an object of derision holding a theme of
patriotism, romanticism which includes rural or urban (standard language) language
and intelligible to all classes. Example: Projapotita- Mithila, Ghuri- Bappa,Haway
Haway dolona- Habib, 30 Bochor Dhore-Haider Hossain, etc.

Mostly these kinds of song are heard by the people live in district towns of
Bangladesh. They are also popular to the middle class people and young generation
(mostly to the Bengali medium students).

Band (soft):

They are mostly used in the standard language with lots of code switching. There
are some uses of dialect or variety of one language (Old Dhaka language). Use of
artistic and intense language gives it a new extent. Some songs: Hridoy-Mahadi and
Elita,Ek Paye Nupur- Topu and Anila, Tears become the rain- Kazi and Priscila,
Bol na tui Bolna- hridoy Khan etc.

These kinds of songs are mostly popular to the new generation, to the students of
both English and Bengali medium. These songs are now so popular that the
listeners even follow the singers’ lifestyle.

Band (rock):

The songs following complete European culture use most colloquial language by
holding the theme of youths. Onno Shomoy- Artcell, etc. Code switching, using
slang are the characteristics of these songs Examples: Trimatrik- Aurthohin,
Ghumonto Shohore- LRB, Mrito Jodhha- Satanik, etc.

This area is only appreciated by the young generation live in Dhaka. Most of the
listeners are male.

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Band (folk):

The remake of the folk songs suffers from thematic ambiguity. Use of dialect,
chaste language, rap, code switching are main characteristics of these songs.
Personalization gives the accentual variation. Example: Doyal- Ovi, Songs of Bari
Siddiki, Din Galo- Habib, songs of Kaya, etc.

Remake of folk songs are popular to all classes for, the accentual variation gives it
individuality and the fusion of music gives it a new taste. Here again the young
people of Bangladesh cover a large number of listeners. By remaking these songs
gives lives back to the folk songs of Bangladesh.

Band (hip hop)-

This kind of song uses the colloquial language, most popular to the young
generation (school – university students), popularity lies in its use of register,
dialect, code switching, objectionable words, different varieties in one song, slang
words. The song directly attack on the social or political abnormality so that most
often this kind of song gets banned.

This genre got immense popularity to only one group, the people who use this kind
of language and register while they are within their group. But according to the old
generation people this is the violation of code and conduct of song. And because of
using a lot of code mixing it’s not enjoyed by the poor class.

Selection of Language in the Song:

To throw out the monotony of language, musicians select the language from a
variety or build a combination of varieties and develop the style with different tune.
The selection of language is dependant on the social and political context of a
country.

In the selection of language the variable which influence the style of the song are:

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Addressee: is most important to achieve its thematic success. The addressee shows
what theme, language and style should a musician choose.

Social class: the song varies according to social class. The language has different
significance to the different social class.

Context and social role: are very important as they decide the language style and
its effect on society. For example if it is a political context and the language is
revolutionary appealing to the people then it is possible to raise the voice against
the context of the song. So, these two play a very vital role in the selection of
language.

The change in language varies from i) place and ii) occupation which affect the
choice of form leading to stylistic difference. The different place demand different
language. For example if the a concert takes place in the University campus where
the listener are students then each kind of modern song is celebrated simultaneously
but in the villages the pure folk, rural songs will be appreciated more where the
listener are working class. So this difference tends to the classification of the
listener in three groups:

i) Lower class: includes the working-class people like rickshaw pullers,

garments workers, villagers, maid servants, slum dwellers. This class likes the
modern song using cheap language, pure folk song and some remakes like- ‘Burka
Pora Meye’, ‘Tunir Ma’ ‘Shundori Komola’ etc.

ii) Young group: includes the age group 13-35 years. Each modern genre of
songs enjoy the immense popularity from this group. Song of Habib, Balam, Topu,
Mila, Fuad, and now the most favorite is Hridoy Khan. But choice of song changes
repeatedly in this group.

iii) Elite class/Middle aged class: includes the intellectual people like
teachers, renowned artists, high officials, renowned old musicians, and our parents
as well. They consider new generation has violated the language and music code.

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They like Tagore song, Nazrul’s song, Pure folk song, very few remixed and
modern soft classical music.

Critic’s comments:

Nothing is achieved without criticism. Bangladeshi song also faced some criticism

when it started new style in singing, like:

“I never sang to become famous” Fatema-Tuz-Zohra:

‘When someone asks what I would be, if not a singer, I find it very difficult to answer as
I cannot help but only think of being a singer,’ says Fatema-Tuz-Zohra, the very
renowned Nazrul Sangeet singer of the country.

Her singing lessons began at the age of three under Guru Habibur Rahman (known as
Shathi bhai). She feels her enthusiasm was channelled properly through the guidelines
provided by her father, late Dr Syed Farid Uddin. ‘My father was my biggest critic. He
used to tell me what to do and what not to. He was also the one, who recommended that I
sing Nazrul Sangeet,’ she shares.

Zohra feels that at present there is a different scenario, in terms of parents’ endeavors to
guide their children. The parents rather push their children to sing for an establishment
that has commercial value. ‘This is improper guidance,’ she says.

She reminisces, ‘My father used to say that if you have the quality, people would
naturally notice you; just like when the moon rises in the sky. You do not need to tell
anyone to take a look, people notice it themselves. I believe this and am proud that I had
never tried to ask people to notice me, it rather happened naturally.’

Zohra has a unique power to mesmerize her audience with her singing, including her
three children. Her son says about his mother, ‘I have seen people become spellbound
when my mother starts singing. She literally has the power to hypnotize.’

‘I never sang to become famous. I sing for the sake of singing. Today there is a wave of
contemporary songs. But I do not have any problem with that. I feel no matter what, the
focus should always be on basic classical like Rabindra Sangeet, Nazrul Sangeet and so
on. It is not a good idea to abandon these songs as they have no replacements.’

In general, Zohra is fonder of songs that have thoughtful lyrics rather than those that have
very plain or simple lyrics. A song that she has already recorded for her upcoming album
goes, ‘Amar moner jole rod porechhe/megh korechhe/megh bolchhe jabo je kothay/amar
chokher patay gorportay rod porechhe goto koyekbaar/ amar shupto protishodh niyechhe

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rodh korechhe darun protirodh’. With the lyrics and music composed by Abdar Rahman,
this is an example of the types of songs she likes to sing.

‘I think people would have to go deep into the song to understand its meaning and I really
like songs like that,’ she says. Zohra likes melody and the dominance of raga in the
composition as far as the songs are concerned.

Zohra spent her childhood in Jaipurhat. She passed her SSC from Jaipurhat Government
Girls’ School and HSC from Government Degree College, and after her graduation she
got admitted for Masters in Rajshahi University. Zohra shared her student life with her
mother Fazilatunnesa who passed HSC with her daughter Zohra.

‘As my mother got married at the age of thirteen, she couldn’t pursue her studies, later on
she got busy with family and children, but when we grew up she had the time to start
reading again, and so she did. She passed her SSC one year before I did but we passed
HSC together. I felt really proud of my mother,’ says Zohra.

A very down-to-earth person, Zohra likes to lead a simple life. Luxury never attracted
her. All she craves for is a chance to spend time with nature. ‘I am a die-hard nature
lover. I love the silence of nature; it feels amazing when you experience it.’

Zohra’s biggest hobby is to collect dolls. She has been collecting them since her
childhood and it has now turned into a rare collection. She is still as fond of them as she
was in her childhood.

One of Zohra’s dreams is to see a beautiful Bangladesh as she sings of her self-composed
patriotic song ‘Amar kolpona chhilo kono shorgo rajje ure ure rupoli pakhir danay bheshe
jai…’

A versatile artist, Zohra has written few books as well. ‘I am into writing since my
childhood; I got this habit from my father and also from my Ustadji.’ During her student
life, Zohra used to write for college magazines, but later on she got her first book
published in the year 1994: a collection of poetry titled Jekhane Bhalor Baash. She has
written around hundred poems so far.

Though her first book was of poetry, Zohra actually likes to write prose. In the year
1994/95 Zohra used to write columns for a fortnightly magazine named Padma. The
column was titled ‘Kichhu niye kichhu kotha’. Later, ‘Kicchu niye kichchu kotha’ was
published in 1998 as a book of the collected columns.

After that, Zohra wrote a book on the liberation war named Shonamukhir ko’din. She has
also written children rhymes and two such books have been published so far. ‘Rhymester
Abu Saleh, one of my very favourite persons, has inspired me to write rhymes. I have

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emphasised on rhythms while writing them. The two rhyme books are titled Talbahari
chhora and Chhoray chhoray bol,’ she says.

However, despite all the accolades and accomplishments that she has received over the
years, Zohra regrets one thing in life. ‘I really wish I could be a pure classical artist. But
somehow that did not happen. I always feel upset when I think about it.’

Zohra is quite optimistic about today’s generation of singers, coming from different talent
hunt shows. ‘These programmes made people take interest in music and day-by-day the
participants are becoming more promising. When all these started there was only a
handful who could actually sing. But now we see more talented and well-groomed
singers,’ says Zohra.

When asked about how she juggles all these responsibilities at the same time, she says,
‘everyone in my family is very supportive. We give each other enough space to make
thing easier for one another. That is how I have come this far.’

It was one of those soft rain-dappled mornings, as we listened, engrossed to the eminent
lyricist, film director and producer Gazi Mazharul Anwar at our Daily Star office. Clad in
his typical white panjabi, Gazi talked informally on his illustrious career in the media.

"I never thought that I would be involved with the media. I was in my third year as a
medical student when I had the urge to write lyrics for films. My father was shocked! It
took him a while to come around. I think my greatest compliment came a few years later,
when receiving the prestigious Ekushey Padak on my behalf, my father said, "You've
proved your worth, now I will die a very content man," says Gazi. Gazi later went on to
receive other highly prestigious National Awards such as the Shadhinata Padak and
numerous National Film Awards.

Gazi is amongst the most prolific of lyricists in our country. Having entered filmdom in
the '60s, he has so far penned an astounding number of 21,000 songs, "Perhaps the
highest number of songs written by an individual in the subcontinent," he says. His
countless hit songs include Joy Bangla Banglar Joi, Ekbaar Jetey De Na Amar, Akasher
Hatey Achey Ekraash Neel, Achen Amaar Mokhtar Achen Amaar Barrister, Mago Ma
Ogo Ma and many more.

He recalls an interesting anecdote on his prolific ability to produce winning songs while
working with acclaimed director Zahir Raihan. "Zahir was far more advanced than his
peers in his ideas. In those days of black and white films, he shot films such as Sangam
and Bahana in colour. When directing Dui Bhai in the late 60s, he wanted to complete it
in only 17days! Accordingly, Zahir requested me to prepare seven songs within two days.
He knew it was a challenge, but he asked me to try anyway. I accepted the challenge and
imagine his total surprise when I completed writing the lyrics not within two days, but
within three hours!" says Gazi.

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Across the border, eminent lyricist Gouri Proshonno Majumdar of India complimented
Gazi highly. A particular folk-based song Tumi ar ekbaar ashiya jao morey kandaiya, had
left a strong impression on him. Other critics have been quoted as saying that they would
often wake up in the morning and retire at night listening to Gazi's songs.

Lyrics are the tangible reflection of moods and emotions. However, "In our country the
lyricists become a forgotten chapter when a song becomes a classic," notes Gazi.

A nostalgic Gazi humbly recalls the golden age of music that made it all possible. His
contemporaries were Dr. Md Muniruzzaman, Professor Abu Hena Mustafa Kamal and
Masud Karim among others. Eminent composers Abdul Ahad, Subol Das, Sattya Shaha,
Khondokar Nurul Alam, Altaf Mahmud, Alauddin Ali, Anwar Pervez composed music
for his songs, he added. In such a star-studded company, creating timeless music was
simply an inevitable extension of their genius.

Music though, was not limited to only the enlightened circles. "Our culture is very rich
and undoubtedly music has always been at the forefront. As a child I remember even
vendors would sell records of eminent singers such as Kamala Jharia and others. Music is
something we hold very dear to our heart. However, with the change of tide everything is
becoming mechanical. Now music is multi-dimensional. Artistes now are less passionate
about any particular song since songs are prepared hastily. Music and dance have joined
hands, which often results in vulgarity and are driving away the true listeners," he
continues.

"Film songs are situational," adds the accomplished lyricist. "It is a combined effort of
the lyricists, music composers, artistes, musicians and the recordists. We would spend
hours together with the music composers and the artistes would sit for regular rehearsals
before a song was created.

"However, due to the invasion of satellite culture, there has been a drastic downward
trend in films. Music and dance in films have become secondary during the '80s. They are
used merely as a visual treat (some would say abuse) rather than creating a tasteful piece.
During the '90s it continued to worsen and now we are witnessing an all time slump."

Gazi asserts that a competitive market necessitates offering incentives for quality films.
"If films are considered an industry (since they pay regular taxes and employ thousands
of people and so on), why should they not be given the same incentives as in any other
industry?" he asks.

"Without government support and reduction of service charges such as print processing
that amounts to Taka 10-15 lakh, our filmdom is bound to lag behind. This is a big
setback and would encourage encroachment of foreign films that can beat us out of the
market through lower prices," says Gazi.

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Gazi, has so far produced about 32 films. "Government funding or subsidies should be
based on the quality of the script and should be available to talented newcomers as well
as the renowned filmmakers," he adds.

Gazi says that Film Development Corporation (FDC) has seen around 31 directors in the
last three decades and has mostly been headed by people from the administrative
background. "What FDC needs is creative people at the helm; only then can our country
witness the revival of what was once a creative, booming industry.”

Source: The Daily Star

Bangladeshi Band Music Widely Accepted in Bangladesh

Band music is very popular among the youth of Bangladesh. This kind of music was
introduced in Bangladesh more than thirty years ago and had been gradually winning
adherents among the younger generation. Now it is on the way to being accepted as a part
of the country’s cultural heritage.

The officials of Bangladesh Shilpakala Academy stated this at the inaugural session of
the two-day program of band music, organized by the academy at its National Theatre
Hall in Segun Bagicha on Sunday. The academy’s director general Qamrul Hasan,
director of dance and music, Sunil Chandra Das and director of dramatics and film, Shafi
Kamal spoke at the inaugural day of the program.

Qamrul Hasan said that the band music during the last thirty years has acquired a strong
foundation in Bangladesh. ‘We should not ignore this genre of music,’ he continued,
‘during this time of globalization the Bangladeshi band music should be practiced
mingling local heritage with modern instruments.’ He hoped for further development of
band music in Bangladesh and assured that the academy would continue its support in
promoting band music among the young people of the country.

Sunil Chandra Das said that for the first time the academy arranged program of band
music to meet the demand of young audience. ‘The academy works for the development
and nourishment of healthy music. Terming the band music as a new trend in the
country’s cultural tradition, he said, ‘We have arranged this program to fulfil the
academy’s commitment to support quality music.’ Shafi Kamal said that this was the
proper time to narrow the gap between the academy and younger generation. ‘Band
music is no longer an alien culture. Band music has gradually struck roots in our society
since after the independence of Bangladesh,’ he said. Kamal also laid emphasis on the
pursuit of healthy band music.

The inaugural session was followed by the performances of poplar groups LRB,
Feedback and Face to Face. Two music bands Steeler and Parthib also performed at the
program. The groups delighted a packed audience inside the hall singing their popular
numbers.

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Conclusion:
Now music is a very popular media of entertainments. It has a great effect on our society
and especially on new generation. The language of song should be thoughtful and
thematic so that generations won’t get misconception about our culture. It’s very good to
observe that our own music is getting popularity in other countries and nations. So, our
this culture needs proper treatment and nursing to over the heart connoisseur of music. So
the singers should lay emphasis on the pursuit of healthy on-going music and culture.

References:

http://priyo.com/entertainment/2009/04/18/24919.html

The Daily Star

Wikipedia

banglamusic on.com

prio.com

A Reader of Sociolinguistics

New Age

(-: THE END :-)

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